Berlin: Symphony of a Great City

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(Redirected from Berlin, Symphony of a City)
Berlin: Symphony of a Great City
Directed by
Walter Ruttmann
Written by
Karl FreundCarl MayerWalter Ruttmann
Cinematography
Robert BaberskeReimar KuntzeL閱﹝l Sch?fferKarl Freund
Editing by
Walter Ruttmann
Distributed by
Fox Film Corporation (US)Fox Europa (Europe)
Release date(s)
23 September 1927 (Germany)13 May 1928 (US)
Running time
65 minutes
Country
Germany
Language
Silent film
Berlin: Symphony of a Great City (German: Berlin: Die Sinfonie der Gro?stadt), alternatively translated as Berlin: Symphony of a Metropolis[1], a 1927 German silent film directed by Walter Ruttmann, and co-written by Carl Mayer and Karl Freund, is a prominent example of the city symphony genre.[2] A musical score to accompany the film was written by Edmund Meisel. As a "city symphony" film, it portrays the life of a city, mainly through visual impressions in a semi-documentary style, without the narrative content of more mainstream films, though the sequencing of events can imply a kind of "narrative" of the city's daily life.
Other noted examples of the genre include Charles Sheeler and Paul Strand's 1921 film Manhatta, Dziga Vertov's 1929 film Man with a Movie Camera, Andre Sauvage's 1928 film Etudes sur Paris, and the 1929 Dutch film Regen directed by Mannus Franken and Joris Ivens.
This film represented a sort of break from Ruttmann's earlier "Absolute" films which were abstracts. Some of Vertov's earlier films have been cited as influential on Ruttmann's approach to this film, and it seems the filmmakers mutually inspired one another, as there exist many parallels between this film and the later Man with a Movie Camera.
The film displays the filmmaker's knowledge of Soviet montage theory. Some Socialist political sympathies, or identification with the underclass can be inferred from a few of the edits in the film, though critics have suggested that either Ruttmann avoided a strong position, or else he pursued his aesthetic interests to the extent that they diminished the potential for political content.[3] Ruttmann's own description of the film suggests that his motives were predominantly aesthetic: "Since I began in the cinema, I had the idea of making something out of life, of creating a symphonic film out of the millions of energies that comprise the life of a big city."[4]
Contents
1 Five acts
2 Additional facts
3 References
4 See also
5 External links
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Five acts
Berlin: Symphony of a Great City is largely an avant-garde film, and does not have a plot in the conventional sense. However, the events of the film are arranged to simulate the passage of a single day (simulated from an assemblage of film shot over the period of one year).[5] Shots and scenes are cut together based on relationships of image, motion, point of view, and thematic content. At times, a sort of commentary can be implied, as in edits that juxtapose workers entering a factory with cattle being beaten and driven into a corral.
The five reel film is divided into five acts, and each act is announced through a title card at the beginning and end. One leitmotiv that is present in all of the acts, which largely connects them, is the theme of the train and streetcar. Much of the motion in the film, and many of the scene transitions, are built around the motion of trains and streetcars.
I Akt: The first act starts the day, beginning with calm waters and a graphic representation of a sunrise. Railroad crossing gates are lowered, a train travels through down the tracks and proceeds into the city, ending with a graphic of the "Berlin" sign approaching. The film then transitions through calm and empty streets, to the gradual process of the city waking up. At first, only objects are seen, such as a bit of paper blowing through an empty street, but soon a few people arise, then more are about, and the activity builds to crowds of workers going to work, pedestrians, busy streetcars, trains etc. A hand manipulates a lever, effectively turning on the city, and factory machinery springs to life. Glass bulbs are produced, sheets of metal are cut, molten steel is poured, smokestacks are seen against the sky, and the first act ends.
II Akt: The second act shows more of the general life of the city, beginning with the opening of gates, shutters, windows, doors, people busy cleaning, fruit carts, children going to school. Mailmen start their day, shops open. Different classes of people are seen, some mounting busses and streetcars, while wealthy men enter chauffeured private cars. The city is bustling with activity. Office workers prepare to start their day, as roll top desks open, people set out their pens, paper, open books, remove the cases from typewriters, and a bank of typists quickly erupt into...(and so on)

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